Entertainment
Better call Harvey Specter? Gabriel Macht answers the call for ‘Suits LA’
Not all heroes wear capes. This one is an impeccably dressed lawyer who is often armed with a tumbler of whiskey. And the new “Suits” spin-off has called him back for duty.
When NBC announced that it was capitalizing on the success of the glossy legal drama — which concluded its USA Network run nearly six years ago but became the most streamed show of 2023 with its arrival on Netflix — with “Suits LA,” a Los Angeles-set spin-off revolving around a new group of ambitious lawyers and their dealings within the entertainment industry, creator and showrunnner Aaron Korsh kept any plans for appearances by characters from the original series more tightly under wraps than the logistics of the mysterious can opener ritual.
Rather than play the odds, he played the man and got Gabriel Macht to play Harvey Specter again.
Across nine seasons and 134 episodes, Macht took viewers on the smug but charming corporate attorney’s journey of emotional and personal maturation as he teamed up with — for more most of the show’s run — wayward genius Mike (Patrick J. Adams), whom he hired to be his associate even though the young man had never attended law school. Between cases, Harvey confronted his demons and by the series’ 2019 finale was a married man headed to Seattle to reunite with his sidekick to do some legal good for the little guys. (Macht, meanwhile, intentionally stepped away from acting to focus on his family once the series wrapped.)
Now, it’s early March and Macht’s on the set of “Suits LA” on the NBCUniversal lot putting the finishing touches on his three-episode arc, which was crammed into roughly a week of filming: “I really thought I was shutting the door on this character at the end of the original,” says Macht, with a set of dark-framed glasses the only thing distinguishing him from his character during a break.
Harvey’s arc primarily occurs in flashbacks circa 2010, establishing his friendship with “Suits LA” frontman Ted Black (Stephen Amell) around the time the latter was wrapped up in a case involving notorious mobster John Pellegrini (Anthony Azizi) that ultimately triggered his move to the West Coast. Ted was prosecuting federal cases for the U.S. attorney’s office in New York City and on a mission to put the mafioso — who used various intimidation tactics on Ted, including extorting Ted’s corrupt father (Matt Letscher) and inadvertently having Ted’s brother (Carson A. Egan) killed — behind bars; Harvey worked in the district attorney’s office. Later, when the murder case fell apart, Harvey, who by this time was working in the corporate sector, clandestinely helped Ted convict Pellegrini on racketeering charges. But with the criminal set to be released from prison in the present day, Harvey makes a trip to L.A. to rally Ted so they can get Pellegrini back behind bars. The arc concluded with Sunday’s episode, titled “Bat Signal,” which finds the dynamic duo in New York City to (successfully) execute their plan.
But is this the last viewers will see of Harvey Specter? Macht has learned not to say no to anything.
“Look, if everything fails in my life, I think I can go to Times Square, put on the suit and just pose for pictures, maybe?” he says with a wide smile as he ambles his way back to shoot a scene in the present-day timeline.
Like the Naked Cowboy?
“Yeah, I’ll be right next to him.”
The Times checked in with Macht a few weeks later over a video call to discuss the reprising of his character. Here are excerpts from the conversation.
Gabriel Macht reprises his “Suits” character Harvey Specter for NBC’s spin-off “Suits LA.”
(Nicole Weingart/NBC)
Since the resurgence of “Suits,” you’ve been asked about reprising your role for a revival or even a movie of the OG series. You’ve largely had some playful responses quashing the likelihood of that happening. What was the initial reluctance and how did this way become appealing for you?
When I was finished with “Suits,” I was ready to be done. I feel like we told those stories and we really stuck the landing. We left with integrity. At that time in my personal life, I was ready to be done and move on and focus on different things. I wanted to travel the world, and I wanted to fill up the daddy well, and, you know, really spend time with my kids and make up for lost time. That was really the focus. That’s where maybe those responses [came from]. Jump a few years, when Netflix picked it up, it dominated the viewership in so many ways that it just felt like it was sort of bigger than anyone could really understand and imagine. I’m seeing that there’s a new generation. Who knows, there might be a “Suits: The Musical” on Broadway in 20 years. It created a bunch of opportunities for a lot of the players from the original show. And when Aaron [Korsh, the creator and showrunner of both series] came to me and said [mimics Korsh’s pitchy voice], “Hey, I know you haven’t wanted to get back in this … ,” I said, “What is it? What’s the story?” All I was interested in was how he was doing and how’s the show going and support the show. He said, “Look, there’s a character that might have been friends with Ted, and I can make his name in the script Harvey, if you’d be willing to consider …”
And over the next days, I started to think about the fans and how much the fans are really so committed to this show. That was my first instinct … if they can make it happen, I want to do it for the fans.
Did it take some time for you to feel like you were locked in? We don’t see Harvey in a suit right away and I would imagine that’s what helps you get there.
It kind of was like riding a bike, especially when you put the suit on. Aaron has this way of writing where he’s got a lot of double negatives. They gave me one or two speeches where I had to get into that dynamic and I was like, “Oh, my God, I’m gonna have a panic attack. This is not why I came back.”
On set you mentioned that the baseball scenes were shot at Rancho Park, which is where you used to practice for your high school baseball team. That must have felt like a surreal, full-circle moment to be coming back to this seminal character in your career while returning to a place that had meaning in real life.
It was nostalgic in so many ways. I played up until my freshman year of high school. They put me on the bench. I didn’t really play that much. I loved baseball and I still love baseball, but I was like, “Oh, God, I should really be thinking about my future. Maybe I should go into the drama class or something.” They happened at the same time, so I can either do baseball every day or do drama and acting.
Going back to Rancho Park and being in a uniform, playing shortstop, and actually seeing my dad [actor Stephen Macht, who had a recurring role in “Suits”] come out was nice. I said, “Dad, I’m shooting at Rancho, if you want to come and visit.” He comes out and he’s sitting in the stands; apparently he asked them, “Where’s Gabriel?” And someone was like, “Who are you?” And he’s like, “I’m his father!” It brought him right back to when I was in high school or little league. And they’re like, “Oh, he’s playing shortstop.” He’s been in the business 50 years. And he was like, “Well, when’s the game starting?” It was a real moment for me to see him in the stands. During one of the takes, I was like, “Dad, you’re sitting with background, you’re like an extra right now. Go behind video village! You can watch the scene there.” It was a full-circle moment for us.
Gabriel Macht, left, as Harvey Specter and Sarah Rafferty as Donna Paulsen in the 2019 series finale of “Suits.” (Shane Mahood / USA Network / NBCUniversal)
Patrick J. Adams, left, as Mike Ross and Gabriel Macht as Harvey Specter in a Season 2 scene from “Suits” (Steve Wilkie / USA Network)
When it was announced that you were returning, it quickly became clear that one of the key cameos fans were anticipating with your return is Harvey’s wedding band. The Darvey shippers, myself included, wanted some assurance that Aaron did not mess with their favorite TV couple. Did you see some of that? And were you curious where Harvey would be at in life?
Yes, I was curious to see what it was and what was going to happen and what the storyline is; it could have gone in so many different directions. There’s no reference that they’re married and still together, but there is a reference that there’s a child. I was moved by that moment. I was moved when I read it, I was like, “Oh, that’s cool.” I said “Guys, in the flashbacks, obviously I don’t have a ring, but I think I should have a ring for the present time.” And they were like, “Yeah, yeah, yeah.” So, that’s how we basically said that this [Harvey-Donna] relationship is still continuing. It was a nice moment. It was a really nice moment. Now why we never mentioned anyone with the name Ted in 134 episodes [of “Suits”], but these guys are really great friends and he names his son after him …
Wait. Do you think he really named their son after him? I thought he was just teasing.
I think he [Harvey] was just playing with him [Ted]. But you never know with Harvey; he keeps so many things close to the chest. He could have really connected with him years ago. With television, with characters, you don’t know.
I have to say, I always thought Harvey would be a girl dad. Maybe they have a daughter who just can’t text yet. My niece loves doing the voice to text on other people’s devices.
That’s very possible. Maybe he has a girl who’s of the age of texting but doesn’t have a phone? We don’t give our daughter a phone.
Fans on the show know that Harvey lost both his parents. With his appearance on “Suits LA,” we learn his only sibling, Marcus, has passed in the time since. [Actor Billy Miller, who portrayed Marcus, died in 2023.]Have you asked Aaron why he has made Harvey endure so much pain and loss? Can we have some assurance that Harvey is at least going to the doctor and getting himself checked out?
That’s a good question. How do I answer this? The human in me says, look, there’s tons of loss in in our lives and humans go through loss every day. There’s always been a real sense of abandonment issues that Harvey has had throughout his life, and I think that that has been a dramatic tool that has been helped by writing for that. I don’t think Harvey really plays a victim, but I think it’s a way to feel for him. If you look at any Disney movie, the parents die within five seconds and that’s to get you on the hook of feeling like you gotta feel for this character.
Gabriel Macht, left, as Harvey Specter and Stephen Amell as Ted Black in “Suits LA.”
(Nicole Weingart / NBC)
I know it was brief and we don’t get too much of present-day Harvey, but what was it like playing Harvey at this stage of his life and this stage in your life?
It was fun. He’s a little bit more settled. He’s a little bit more in touch with himself. He likes to still take the piss out of his friends and the people that are close to him. But what we love about Harvey is his sense of what’s right and making things right and his loyalty and his heart. There’s plenty of times he’s playing with the system. I think he’s doing what’s best. That was nice to play and just to be in in touch with that.
It’s interesting because there’s many versions of Harvey that I’m not a fan of and that I’m not crazy about and that I don’t like to engage in or support. I don’t like supporting the narcissistic elements of him. I don’t like supporting the aggressive, toxic masculinity that Harvey has in his toolbox. In these last six years, I have done a lot of work on myself and just seeing, what are the behaviors of Harvey that do align with me? There’s elements of behavior where, as the actor and as the character, you’re having to beat people down and manipulate and use so many negative behaviors that don’t align with me, or more so, align with the child in me, that I have been keenly aware that I need tend to.
What worked well for Harvey was my [inner] child. So, to be able to dismantle that or observe all the behaviors of the child — digging his heels in and saying, “This is what I need! This is how to do it!” — that selfish, sort of narcissistic coping mechanisms that you make as a kid, that’s the work to be done [on myself] to move away from him. I’d love to see a documentary where somebody takes characters where the actors have really lived in their shoes for so long that they become them in different ways, and how do they shake them at the end of the day and come back to themselves? I think it’d be really interesting
Could you see a day when you consider doing another TV series or returning to the screen?
I’m way more interested right now in this partnership that I’m doing with Bear Fight Whiskey. The small narrative stories where I can be creative are where my heart is right now. A television show is a big commitment. You’re basically owned by the show and the network and the stories and you really have to give up so much of your life. Maybe when my kids go to college or whatever, and there’s more time in my life that I can devote to that.
Your friends and “Suits” co-stars, Sarah Rafferty and Patrick J. Adams, recently wrapped re-watching the first season on their podcast. They’re on hiatus now, but do you think you’ll ever stop by as a guest? I need you on this podcast.
At some point, yeah. I don’t know when. The stars have to align. I think they’re doing great and I think they’re really enjoying it. I don’t know how I would go on there and talk — I have a bad memory as it is. I do not know if I would come in with much substance. I’ve seen clips [of “Suits”] here and there and I’m like, “I said that? I have no idea! I have no recollection of that!”
I do feel like Harvey has some explaining to do with Mike for using the whole Batman thing with Ted.
I think you’re right. You have to go after Aaron. He thought it was a little too meta and too much of a wink to the audience, but I’ll tell you, we said “Green Arrow” and “The Spirit.” [Amell played Oliver Queen in the CW’s “Arrow” and Macht portrayed the title character in Frank Miller’s 2008 film adaptation of Will Eisner’s “The Spirit.”] There’s a version of that that would have been gold, but [Aaron’s] a Batman guy, so you got to just say what’s on the page sometimes.
You grew up here. What’s the L.A. spot Gabriel would tell Harvey to visit?
Marty’s. I’m telling you, Marty’s burgers — it’s right near Rancho Park. It’s a greasy spoon. It’s the home of the combo. It’s where I used to eat all the time. I’m a vegetarian now, so I can’t go back there and eat there, but Harvey could.
Movie Reviews
‘Hoppers’ review: Who can argue with hilarious talking animals?
Just when you think Pixar’s petting-zoo cute new movie “Hoppers” is flagrantly ripping off James Cameron, the characters come clean.
movie review
HOPPERS
Running time: 105 minutes. Rated PG (action/peril, some scary images and mild language). In theaters March 6.
“You guys, this is like ‘Avatar’!,” squeals 19-year-old Mabel (Piper Curda), the studio’s rare college-age heroine.
Shoots back her nutty professor, Dr. Fairfax (Kathy Kajimy): “This is nothing like ‘Avatar!’”
Sorry, Doc, it definitely is. And that’s fine. Placing the smart sci-fi story atop an animated family film feels right for Pixar, which has long fused the technological, the fantastical and the natural into a warm signature blend. Also, come on, “Avatar” is “Dances With Wolves” via “E.T.”
What separates “Hoppers” from the pack of recent Pix flix, which have been wholesome as a church bake sale, is its comic irreverence.
Director Daniel Chong’s original movie is terribly funny, and often in an unfamiliar, warped way for the cerebral and mushy studio. For example, I’ve never witnessed so many speaking characters be killed off in a Pixar movie — and laughed heartily at their offings to boot.
What’s the parallel to Pandora? Mabel, a budding environmental activist, has stumbled on a secret laboratory where her kooky teachers can beam their minds into realistic robot animals in order to study them. They call the devices “hoppers.”
Bold and fiery Mabel — PETA, but palatable — sees an opportunity.
The mayor of Beaverton, Jerry (Jon Hamm), plans to destroy her beloved local pond that’s teeming with wildlife to build an expressway. And the only thing stopping the egomaniacal pol — a more upbeat version of President Business from “The Lego Movie” — is the water’s critters, who have all mysteriously disappeared.
So, Mabel avatars into beaver-bot, and sets off in search of the lost creatures to discover why they’ve left.
From there, the movie written by Jesse Andrews (“Luca”) toys with “Toy Story.” Here’s what mischief fuzzy mammals, birds, reptiles and insects get up to when humans aren’t snooping around. Dance aerobics, it turns out.
Per the usual, “Hoppers” goes deep inside their intricate society. The beasts have a formal political system of antagonistic “Game of Thrones”-like royal houses. The most menacing are the Insect Queen (Meryl Streep — I’d call her a chameleon, but she’s playing a bug), a staunch monarch butterfly and her conniving caterpillar kid (Dave Franco). They’re scheming for power.
Perfectly content with his station is Mabel’s new best furry friend King George (Bobby Moynihan), a gullible beaver who ascended to the throne unexpectedly. He happily enforces “pond rules,” such as, “When you gotta eat, eat.”
That means predators have free rein to nosh on prey, and everybody’s cool with it. Because of bone-dry deliveries, like exhausted office drones, the four-legged cast members are hilarious as they go about their Animal Planet activities.
No surprise — talking lizards, sharks, bears, geese and frogs are the real stars here. They far outshine Mabel, even when she dons beaver attire. Much like a 19-year-old in a job interview, she doesn’t leave much of an impression.
Yes, the teen has a heartfelt motivation: The embattled pond was her late grandma’s favorite place. Mabel promised her that she’d protect it.
But in personality she doesn’t rank as one of Pixar’s most engaging leads, perhaps because she’s past voting age. Mabel is nestled in a nebulous phase between teenage rebellion and adulthood that’s pretty blasé, even if a touch of tension comes from her hiding her Homo sapien identity from her new diminutive pals. When animated, kids make better adventurers, plain and simple.
“Hoppers” continues Pixar’s run of humble, charming originals (“Luca,” “Elio”) in between billion-dollar-grossing, idea-starved sequels (“Inside Out 2,” probably “Toy Story 5”). The Disney-owned studio’s days of irrepressible innovation and unmatched imagination are well behind it. No one’s awed by anything anymore. “Coco,” almost 10 years ago, was their last new property to wow on the scale of peak Pixar.
Look, the new movie is likable and has a brain, heart and ample laughs. That’s more than I can say for most family fare. “A Minecraft Movie” made me wanna hop right out of the theater.
Entertainment
Ulysses Jenkins, Los Angeles artist and pioneer of Black experimental video, dies at 79
Ulysses Jenkins, the pioneering Los Angeles-born video artist whose avant-garde compositions embodied Black experimentalism, has died. He was 79.
Jenkins’ death was confirmed by his alma mater Otis College, where he studied under renowned painter and printmaker Charles White in the late 1970s and returned as an instructor years later. The Los Angeles art and design school shared a statement from the Charles White Archive, which said, “Jenkins had a profound impact on contemporary art and media practices.”
“A trailblazing figure in Black experimental video, he was widely recognized for works that used image, sound, and cultural iconography to examine representation, race, gender, ritual, history, and power,” the statement said.
A self-proclaimed “griot,” Jenkins throughout his decades-spanning career maintained an art practice grounded in the tradition of those West African oral historians who came before him. Through archival documentaries like “The Nomadics” and surrealist murals like “1848: Bandaide,” he leveraged alternative media to challenge Eurocentric representations of Black Americans in popular culture.
He was both an artist and a storyteller who sought to “reassert the history and the culture,” he told The Times in 2022. That year, the Hammer Museum presented Jenkins’ first major retrospective, “Ulysses Jenkins: Without Your Interpretation.”
“Early video art was about the problems with the media that we are still having today: the notions of truth,” Jenkins said. “To that extent, early video art was a construct that was anti-media … a critical analysis of the media that we were viewing every night.”
Born in 1946 to Los Angeles transplants from the South, Jenkins was ambivalent about the city, which offered his parents some refuge from the blatant systemic racism they encountered in their hometowns, but housed an entertainment industry that had long perpetuated anti-Black sentiment.
“What Hollywood represents, especially in my work, is the classic plantation mentality,” Jenkins told The Times in 1986. “Although people aren’t necessarily enslaved by it, people enslave themselves to it because they’re told how fantastic it is to help manifest these illusions for a corporate sponsor.”
Jenkins, who participated in a group of artists committed to spontaneous action called Studio Z, was naturally drawn to video art over Hollywood filmmaking. “I can address any issue and I don’t have to wait for [the studios’] big OK. I thought this was a land of freedom, and video allows me that freedom and opportunity that I can create for myself and at least feel that part of being an American,” he said.
Jenkins went on to deconstruct Hollywood’s vision of the Black diaspora in experimental video compositions including “Mass of Images,” which incorporates clips from D.W. Griffith’s notoriously racist “The Birth of a Nation,” and “Two-Tone Transfer,” which depicts, in Jenkins’ words, a “dreamscape in which the dreamer awakens to a visitation of three minstrels who tell the story of the development of African American stereotypes in the American entertainment industry.”
Jenkins’ legacy is not only artistic but institutional, with the luminary having held teaching appointments at UCSD and UCI, where he co-founded the digital filmmaking minor with fellow Southern California-based artists Bruce Yonemoto and Bryan Jackson.
As artist and educator Suzanne Lacy penned in her social media tribute to Jenkins, which showed him speaking to students at REDCAT in L.A., “he has been an important part of our histories here in Southern California as video and performance artists evolved their practices.”
Movie Reviews
Review | Hoppers: Pixar’s new animation is a hilarious, heartfelt animal Avatar
4/5 stars
Bounding into cinemas just in time for spring, the latest Pixar animation is a pleasingly charming tale of man vs nature, with a bit of crazy robot tech thrown in.
The star of Hoppers is Mabel Tanaka (voiced by Piper Curda), a young animal-lover leading a one-girl protest over a freeway being built through the tranquil countryside near her hometown of Beaverton.
Because the freeway is the pet project of the town’s popular mayor, Jerry (Jon Hamm), who is vying for re-election, Mabel’s protests fall on deaf ears.
Everything changes when she stumbles upon top-secret research by her biology professor, Dr Sam Fairfax (Kathy Najimy), that allows for the human consciousness to be linked to robotic animals. This lets users get up close and personal with other species.
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